EBERHARD WEBER — The Following Morning (1977-1986) APE (image+.cue), lossless

The absence of a drummer deprives "The Following Morning" of some of the drive and rhythmic shadings of other Weber releases. In some ways this is a more contemplative work, lingering longer upon the tones of the individual instruments. The title track opens with backwards piano and slides into a pensive rumination between the piano and Weber's bass. There is only the tentative presence of orchestral instruments, and the album is quite subtle and slow to unfold. You might not pick up this album as often as some other Weber releases, but it can reward close listening. Paul Collins
Tracklist :
1 T. On A White Horse 10:10
2 Moana I 10:52
3 The Following Morning 12:02
4 Moana II 7:45
Credits
Bass, Composed By – Eberhard Weber
Cello [Celli], French Horn [French Horns], Oboe – Members Of Philharmonic Orchestra, Oslo
Piano – Rainer Brüninghaus

EBERHARD WEBER — The Colours of Chloë (1973-1994) APE (image+.cue), lossless

Eberhard Weber's first record remains his most well-known and influential. An ambitious work of what might be called symphonic jazz, The Colours of Chloë helped to define the ECM sound -- picturesque, romantic, at times rhythmically involved, at others minimalistic and harmonically abstruse. Weber at various points combines strings, choir, synthesizer, and small jazz ensemble. It's a brew that can bring to mind some of the progressive rock and fusion of the era, although Weber's vision is a good deal more idiosyncratic than that. The disc is comprised of only four tracks. First is the atmospheric, stage-setting "More Colours," followed by the title track, during which pianist Rainer Brüninghaus and drummer Ralf Hübner become active. Next is "An Evening With Vincent Van Ritz," featuring deft Rhodes chording from Brüninghaus and a flügelhorn solo by Ack van Rooyen. Finally, there's the nearly 20-minute "No Motion Picture" (this was originally side two of the LP), based on a fast, repetitive bass riff that keeps re-emerging throughout the course of the composition. People will disagree about whether The Colours of Chloë stands the test of time, but Weber's aesthetic played a significant role in the creative music of the '70s, attracting a fair share of emulators. David R. Adler  

Tracklist  :

1 More Colours 6:39

2 The Colours Of Chloë 7:45

Drums – Ralf Hübner

3 An Evening With Vincent Van Ritz 5:46

4 No Motion Picture 19:32

Credits

Bass, Cello, Ocarina, Composed By – Eberhard Weber

Cello [Cellos] – Südfunk Symphony Orchestra Stuttgart

Drums, Percussion – Peter Giger

Flugelhorn – Ack Van Rooyen

Piano, Synthesizer – Rainer Brüninghaus

EBERHARD WEBER - Stages Of A Long Journey (2007) FLAC (image+.cue), lossless

Stages of a Long Journey was recorded in Stuttgart in March of 2005, as part of a celebration of both the 20th anniversary of the Theaterhaus Jazzstage festival and as a 65th birthday celebration for bassist Eberhard Weber. Weber was asked to pick a number of his own compositions, rearrange them by writing new charts for the Stuttgart Radio Symphony Orchestra, and select his own band as well. Weber picked on former and current bandmates such as Gary Burton, Jan Garbarek, Rainer Bruninghaus, Marilyn Mazur, Wolfgang Dauner, Reto Weber, and human beatbox Nino G., and carefully chose material from his own catalog and pieces he had performed on in their initial recordings, such as Bruninghaus's "Piano Transition," Jerome Kern's "Yesterdays," Mazur's "Percussion Transition," and Carla Bley's "Syndrome." Those wondering if there is any actual "jazz" on this record need look no further than the gorgeous version of Bley's tune here, where Burton, Garbarek, and the bassist all shine. Another consideration for the listener is in Weber's beautiful, inventive, rhythmic charts for the orchestra (under the direction of Roland Kluttig). "Silent Feet," which opens the set, is one such exercise. What begins as a slow bowed bassline is colored and enlarged by the orchestra entering gradually, tensely, and dramatically, as grey dawn emerges from the night sky. A pulse begins just after Mazur's percussion entry, the band plays these intricate rhythmic phrases, and the orchestra adds genuine color, texture, and depth. They follow rhythmic signature perfectly, allowing the tune to evolve and bring its delightfully understated melodic frame (which is not inseparable from the pulse) to the fore. By the time Garbarek takes his solo and Weber plays double time behind him, the big brassy horns are ready to push and drop out only as Burton enters with a truly lovely and poetic solo.
There are a fine pair of duets played here as well, between Dauner on piano and Weber's bass on the lovely Kern number, and also "Seven Movements," shared by the bassist and Garbarek. They set the stage for what follows, the elongated "Birthday Suite" that encompasses five pieces -- bookended by gorgeous readings of two of Weber's best-known pieces, "The Colours of Cloë" and "Yellow Fields." On "Hang Around," a trio of Nino G., Weber's downright funky acoustic bass, and the self-designed percussion instrument played by Reto Weber (no relation) called the "hang," are in deep intuitive interplay. The work by G. is not a novelty, but something inventive, utterly fresh, and full of the energy -- especially in G.'s solo. The final two pieces of the evening are in many ways the most satisfying. The full band returns on "The Last Stage of a Long Journey," where the orchestra introduces the brooding and melancholy composition. Strings and the deep brass of tuba and euphonium gradually bring up the tempo and introduce the lithe melody, as Weber brings his bass up from the ether. When Bruninghaus restates the theme on the piano and Weber is allowed free play inside the rhythm, Burton begins to color it. When Garbarek's icy soprano saxophone cries out, it is arresting and rings true. The concert ends with a brief bass solo by Weber on "Air." In just over three minutes, the great bassist is not remotely interested in showing his chops but in playing this bittersweet little song as a folk tune. This is a watershed moment in Weber's recorded output, because it reveals his collective gifts as a musician, which, even when understated, are shining examples of the European jazz, folk, classical, and new music he has forged these last 40 years as a leader and as a valued sideman and composer.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     Silent Feet 7:37
Bass, Written-By – Eberhard Weber
Conductor – Roland Klutting
Orchestra – SWR Radio Symphony Orchestra Stuttgart
Percussion – Marilyn Mazur
Piano – Rainer Brüninghaus
Soprano Saxophone – Jan Garbarek
Vibraphone – Gary Burton    
2     Syndrome 7:44
Bass – Eberhard Weber
Percussion – Marilyn Mazur
Piano – Rainer Brüninghaus
Tenor Saxophone – Jan Garbarek
Vibraphone – Gary Burton
Written-By – Carla Bley
3     Yesterdays 5:03
Double Bass [Double-Bass] – Eberhard Weber
Piano – Wolfgang Dauner
Written-By – Jerome Kern    
4     Seven Movements 5:54
Bass, Written-By – Eberhard Weber
Soprano Saxophone – Jan Garbarek
5     The Colours of Chloë
Bass – Eberhard Weber
Conductor – Roland Kluttig
Orchestra – SWR Radio Symphony Orchestra Stuttgart
Percussion – Marilyn Mazur
Piano – Rainer Brüninghaus
Soprano Saxophone, Tenor Saxophone – Jan Garbarek
Vibraphone – Gary Burton
6     Piano Transition 4:11
Written-By [From "Solo Piano Suite"] – Rainer Brüninghaus    
7     Maurizius 7:04
Eberhard Weber
8     Percussion Transition 3:03
Marilyn Mazur
9     Yellow Fields 7:01
Eberhard Weber
10     Hang Around 4:17
Bass – Eberhard Weber
Hang Drum [Hang], Written-By – Reto Weber
Human Beatbox [Beatbox] – Nino G.    
11     The Last Stage of a Long Journey 11:06
Bass, Written-By – Eberhard Weber
Conductor – Roland Klutting
Orchestra – SWR Radio Symphony Orchestra Stuttgart
Percussion – Marilyn Mazur
Piano – Rainer Brüninghaus
Soprano Saxophone – Jan Garbarek
Vibraphone – Gary Burton    
12     Air 3:10
Eberhard Weber
   

JAN GARBAREK - Legend of the Seven Dreams (1988) FLAC (tracks+.cue), lossless

Though in step with its time, this release suffers from excessive reliance on ambient synthesizers, which litter much of the recording, rendering it only slightly more interesting than many of the Windham Hill new age recordings of the same era. Unfortunate, because the disc opens with strength and gradually peters out by the end. The disc opens with "He Came From the North," which features a melody based on a traditional Lapp joik from the artist's native Norway and progresses into a longer section with an interplay that is both sparse and rhythmic. The sax line here is astonishingly beautiful. The second piece, "Alchuri, the Song Man," a sax and percussion piece, is energetic and lively as well. And from here the energy gradually diminishes. Much can be attributed to popular styles of the time, but this release simply does not stand up to other music of its genre that came later. by Mark Allender
Tracklist:
1    He Comes From The North 13:34
Keyboards – Brüninghaus
Percussion, Voice – Vasconcelos
Soprano Saxophone – Garbarek
2    Aichuri, The Song Man 5:03
Tenor Saxophone, Percussion – Garbarek
3    Tongue Of Secrets 8:07
Bass – Weber
Flute – Garbarek
Keyboards – Brüninghaus
Percussion – Vasconcelos
4    Brother Wind 8:03
Keyboards – Brüninghaus
Percussion – Vasconcelos
Soprano Saxophone – Garbarek
5    It's Name Is Secret Road 1:43
Flute – Garbarek
6    Send Word 7:12
Bass – Weber
Keyboards – Brüninghaus
Percussion – Vasconcelos
Soprano Saxophone – Garbarek
7    Voy Cantando 6:48
Keyboards – Brüninghaus
Percussion – Vasconcelos
Tenor Saxophone – Garbarek
8    Mirror Stone I 1:11
Soprano Saxophone – Garbarek
9    Mirror Stone II 2:29
Soprano Saxophone – Garbarek
Credits:
Composed By [Compositions By] – Jan Garbarek
Design – Barbara Wojirsch
Musician – Eberhard Weber, Jan Garbarek, Naná Vasconcelos, Rainer Brüninghaus

 

JAN GARBAREK - I Took Up the Runes (1990) FLAC (tracks+.cue), lossless

A more eclectic release than his preceding releases, Jan Garbarek's I Took Up the Runes satisfies listeners who had been more or less impatient for something with some meat and some muscle. Opening with a jazzy cover of Mari Persen's "Gula Gula," made fuller with bass guitar accompaniment that modifies the chord structure of the whole tune, the album next features the five-part "Molde Canticle," which spans from a dreamy esoteric sound to African folk music. Garbarek really wails in places, and it is a welcome surprise -- he should wail more than he does. Synthesizer sounds are starting to become less prominent as well. There is excellent piano work by Rainer Brüninghaus and excellent vocalizing by guest artist Ingor Ántte Áilu Gaup. A sign of good things to come. by Mark Allender
Tracklist:
1    Gula Gula 5:55
Arranged By – Jan Garbarek
Composed By – Mari Boine Persen
Molde Canticle 6:04
2    Part 1    5:13
3    Part 2    5:43
4    Part 3    9:54
5    Part 4    5:10
6    Part 5    6:06
Composed By – Jan Garbarek
7    His Eyes Were Suns
Composed By – Jan Garbarek
Composed By [Áilu Gaup Joiking "Biera, Biera"] – Traditional
8    I Took Up The Runes 5:24
Composed By – Jan Garbarek
9    Buena Hora, Buenos Vientos 8:51
Composed By – Jan Garbarek
10    Rahkki Sruvvis 2:26
Arranged By – Jan Garbarek
Composed By – Ingor Ántte Áilu Gaup
Credits:
Bass – Eberhard Weber
Design [Cover Design] – Barbara Wojirsch
Drums – Manu Katché
Percussion – Naná Vasconcelos
Piano – Rainer Brüninghaus
Producer – Manfred Eicher
Soprano Saxophone, Tenor Saxophone – Jan Garbarek
Synthesizer – Bugge Wesseltoft
Voice – Ingor Ántte Áilu Gaup

JAN GARBAREK GROUP - Twelve Moons (1993) FLAC (tracks+.cue), lossless

This 1992 recording by the Garbarek Group has their customary blend of Norwegian folk themes and original compositions, with the leader's big-toned soprano and tenor saxophones at the heart of a music that combines cool lyricism and intense, if restrained, passion. It's the emotion that Garbarek can concentrate in a single note that distinguishes his work. His soprano is a keening wail in the unaccompanied introduction to "Brother Wind March," his high-register tenor an impassioned cry on "The Tall Tear Trees." Rainer Bruninghaus's piano provides a reflectively lyrical contrast, while the shifting rhythms of percussionists Manu Katche and Marilyn Mazur add variety to the reiterated themes. The CD is filled with distinctively Norwegian touches. AllMusic

Tracklist:

1. Twelve Moons 7:35

Part One: Winter-Summer

Part Two: Summer-Winter

Jan Garbarek

2. Psalm 6:32

Jan Garbarek / Traditional

3. Brother Wind March 10:37

Jan Garbarek

4. There Were Swallows… 8:36

Jan Garbarek

5. The Tall Tear Trees 5:45

Jan Garbarek 

6. Arietta 6:21

Jan Garbarek / Edvard Grieg

7. Gautes-Margjit 11:53

Jan Garbarek / Traditional

8. Darvanan 4:54

Mari Boine / Mari Boine Persen

9. Huhai 7:29

Jan Garbarek

10. Witchi-Tai-To 5:43

Jim Pepper

Musicians

Jan Garbarek - soprano and tenor saxophones, keyboards

Rainer Bruninghaus - keyboards

Eberhard Weber - bass

Manu Katche - drums

Marilyn Mazur - percussion

Agnes Buen Garnas - vocal

Mari Boine - vocal

JAN GARBAREK - Visible World (1995) FLAC (tracks+.cue), lossless

Apart from David Sanborn, probably no living saxophonist has a more instantly recognizable voice than Jan Garbarek; actually, given the fact that Sanborn's sound is so widely copied, Garbarek's may be easier to identify in a blindfold test. This album in particular puts that sound front and center. Garbarek's the show; he composed all of the music, and is essentially the only soloist. The music (much of which was composed as soundtrack material for film or video) is quintessential Garbarek, full of the world music influences that have characterized his work since the 1970s. Garbarek's resonant, carefully articulated tenor and soprano tone suits the spacious, minor/modal themes. He's as much a singer as instrumentalist. Garbarek also plays digital synthesizers, mostly as string or flute pads underneath the folkish melodies. The record's most notable secondary player is Garbarek's ECM labelmate, the bassist Eberhard Weber, whose lyric sensibility is a virtual mirror of Garbarek's. This is quiet, contemplative music for the most part -- attractive, but not superficially pretty. Its grooves are less celebratory than melancholic. There's an intensity here borne of deep concentration and commitment to beauty. Garbarek has come a long way since his early days as a quasi-free jazz experimentalist. This music is not jazz, nor is it experimental. But it is compelling in its way, representative of a first-rate creative musician, beyond category. by Chris Kelsey
Tracklist:
1    Red Wind 3:53
Jan Garbarek
Shaker – Marilyn Mazur
2    The Creek    4:33
Jan Garbarek
3    The Survivor    4:46
Jan Garbarek
4    The Healing Smoke    7:16
Jan Garbarek
5    Visible World, Chiaro -    4:09
Jan Garbarek
6    Desolate Mountains I    6:47
Jan Garbarek
7    Desolate Mountains II    6:02
Jan Garbarek
8    Visible World, - Scuro    4:34
Jan Garbarek
9    Giulietta    3:46
Jan Garbarek
10    Desolate Mountains III    1:33
Jan Garbarek
11    Pygmy Lullaby 6:14
Arranged By – Jan Garbarek
Music By [Melody] – African traditional
12    The Quest 3:00
Jan Garbarek
Synthesizer – Rainer Brüninghaus
13    The Arrow 4:23
Jan Garbarek
Tabla, Performer [Spiral] – Trilok Gurtu
14    The Scythe    1:50
Jan Garbarek
15    Evening Land 12:29
Jan Garbarek
Vocals, Composed By – Mari Boine
Credits:
Bass – Eberhard Weber (tracks: 2, 3, 7, 8, 11, 12)
Composed By – Jan Garbarek (tracks: 1 to 10, 12 to 15)
Design [Cover] – Barbara Wojirsch
Drums – Manu Katché (tracks: 2, 3, 11, 13), Marilyn Mazur (tracks: 6, 7, 9)
Percussion – Marilyn Mazur (tracks: 4, 5, 8, 9, 11 to 13, 15)
Piano – Rainer Brüninghaus (tracks: 3, 4, 6, 7, 10, 11)
Producer – Manfred Eicher
Soprano Saxophone, Tenor Saxophone, Keyboards [Electronic], Percussion [Additional], Clarinet [Meraaker] – Jan Garbarek
Note
Tracks 1, 2, 4, 12 and 13 are parts of a "Mangas Coloradas Suite" involving descendants of the Chiricahua Apache Chief Mangas Coloradas.
Tracks 3 and 4 were made for the feature film "Trollsyn".
Tracks 5 and 8 were made for the TV ballet "Bønn".
Track 15 was done for a music-video production entitled "Aftenlandet". 

JAN GARBAREK - Rites (1998) 2xCD / FLAC (tracks+.cue), lossless

Since the late '70s, Jan Garbarek has been carving out a place within jazz for the folk and spiritual traditions of the indigenous peoples of Scandinavia, the Netherlands, and finally of those people all over the world. Rites, a double CD, is his attempt at forging a synthesis that takes improvisation into the heart of ritual music and creates a new form of spiritual from them both. Using a strategy for each of the discs, the first one digs deep into the spiritual and mystical side of his language. Garbarek plays soprano and tenor as well as synthesizers, drum machines, and samples -- always understated, always elegant -- and utilizes the talents of some of his running mates as well as new ones. Rainer Bruninghaus appears sporadically throughout, as does bassist Eberhard Weber, and drummer/percussion wizard Marilyn Mazur is ubiquitous. The music is slow, tenuous, and repetitive. It hardly matters -- on disc one, anyway -- which of the pieces are being played. All of them have spare, chant-like melodies that are lifted by myriad percussion instruments and keyboards, which provide a spacious ambience in which to enfold them both. Even Garbarek's trademark icy saxophone -- usually made more so by Manfred Eicher's production -- is warm, watery, and deeply entrenched in this warm mix that falls over listeners like a fine meditation blanket; like that blanket, it begins to stir emotions from deep within the heart of the listener. While these songs all segue into one another, it is worth noting that Garbarek recut "It's OK to Listen to the Grey Voice" for this collection, where it's performed with deeper conviction and fits better than it did on the album it was named for. Disc two of Rites is a bit of a different story. While the music is indeed intended for ritual, it comes from the celebratory side of the aisle rather than the contemplative one. Here are dances, Garbarek's versions of gospel shouts, processionals, festival waltzes, and all manner of joyful ceremonies completing the circle. On one collection, listeners get music for prayer, contemplation, and grief, as well as a funky European read of indigenous music for moving to and celebrating. Clearly this is what sets Rites above Garbarek's other recordings, him taking that balance he possessed so early in his career back again and putting it to work in a near-sacred setting. (This comment is posted on allmusic by Thom Jurek, follower of our blog O Púbis da Rosa)

Tracklist 1 :
1    Rites 8:27
Composed By – Jan Garbarek
Synthesizer [Additional Synthesizer], Effects [Electronic Effects] – Bugge Wesseltoft
2    Where The Rivers Meet 7:01
Composed By – Jan Garbarek
Cymbal [Additional Cymbals], Tom Tom [Additional Toms] – Marilyn Mazur
3    Vast Plain, Clouds 5:53
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Keyboards [Keyboard] – Rainer Brüninghaus
4    So Mild The Wind, So Meek The Water 6:09
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Piano – Rainer Brüninghaus
5    Song, Tread Lightly 7:40
Composed By – Jan Garbarek
Slit Drum, Cymbal [Additional Cymbals], Tom Tom [Additional Toms] – Marilyn Mazur
6    It's OK To Listen To The Gray Voice 6:43
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Keyboards [Keyboard], Piano – Rainer Brüninghaus
7    Her Wild Ways 6:44
Bass – Eberhard Weber
Composed By – Jan Garbarek
Composed By [Including Fragments Of] – Trad. Halling-Joron
Drums – Marilyn Mazur
Piano – Rainer Brüninghaus

Tracklist 2 :
1    It's High Time 3:31
Composed By – Jan Garbarek
Composed By [Including Fragments Of A] – Sami Trad. Joik
Synthesizer [Additional Synthesizer], Effects [Electronic Effects] – Bugge Wesseltoft
2    One Ying For Every Yang 6:32
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Keyboards [Keyboard] – Rainer Brüninghaus
3    Pan 6:11
Composed By – Jan Garbarek
4    We Are The Stars 5:00
Choir – Boys From The Choir "Sølvguttene"
Composed By – Jan Garbarek
Conductor – Torstein Grythe
5    The Moon Over Mtatsminda 3:57
Composed By – Jansug Kakhidze
Orchestra – Tbilisi Symphony Orchestra
Vocals [Singer], Conductor – Jansug Kakhidze
6    Malinye 6:19
Accordion – Bugge Wesseltoft
Composed By – Don Cherry
Drums – Marilyn Mazur
7    The White Clown 3:44
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Keyboards [Keyboard] – Rainer Brüninghaus
8    Evenly They Danced 5:14
Composed By – Jan Garbarek
Synthesizer [Additional Synthesizer], Effects [Electronic Effects] – Bugge Wesseltoft
9    Last Rite 8:24
Composed By – Jan Garbarek
Synthesizer [Additional Synthesizer], Effects [Electronic Effects] – Bugge Wesseltoft
Credits :
Soprano Saxophone, Tenor Saxophone, Synthesizer [Synthesizers], Sampler [Samplers], Percussion – Jan Garbarek

EBERHARD WEBER - The Colour of Chloë (1974) APE (image+.cue), lossless

Eberhard Weber's first record remains his most well-known and influential. An ambitious work of what might be called symphonic jazz, The Colours of Chloë helped to define the ECM sound -- picturesque, romantic, at times rhythmically involved, at others minimalistic and harmonically abstruse. Weber at various points combines strings, choir, synthesizer, and small jazz ensemble. It's a brew that can bring to mind some of the progressive rock and fusion of the era, although Weber's vision is a good deal more idiosyncratic than that. The disc is comprised of only four tracks. First is the atmospheric, stage-setting "More Colours," followed by the title track, during which pianist Rainer Brüninghaus and drummer Ralf Hübner become active. Next is "An Evening With Vincent Van Ritz," featuring deft Rhodes chording from Brüninghaus and a flügelhorn solo by Ack van Rooyen. Finally, there's the nearly 20-minute "No Motion Picture" (this was originally side two of the LP), based on a fast, repetitive bass riff that keeps re-emerging throughout the course of the composition. People will disagree about whether The Colours of Chloë stands the test of time, but Weber's aesthetic played a significant role in the creative music of the '70s, attracting a fair share of emulators.  by David R. Adler  
Tracklist  
1 More Colours 6:39
2 The Colours Of Chloë 7:45
Drums – Ralf Hübner
3 An Evening With Vincent Van Ritz 5:46
4 No Motion Picture 19:32
Credits
Bass, Cello, Ocarina, Composed By – Eberhard Weber
Cello [Cellos] – Südfunk Symphony Orchestra Stuttgart
Drums, Percussion – Peter Giger
Flugelhorn – Ack Van Rooyen
Piano, Synthesizer – Rainer Brüninghaus

BOB BROOKMEYER — Electricity (1994) Serie : The World Greatest Jazz Orchestras – VI | APE (image+.cue), lossless

Listeners expecting the music on this CD to be similar to Bob Brookmeyer's jazz records of the 1950s will be surprised. The emphasis here is not on Brookmeyer's valve trombone playing (which is barely heard other than on "No Song" and "The Crystal Palace") but on his very adventurous writing for an electronic group (with guitarist John Abercrombie and two keyboard players) and the horns of the WDR Big Band. The six originals are essentially mood music, setting up atmospheres that develop slowly and are occasionally explosive, particularly when Abercrombie stretches out. This well played and creative music is easier to respect than to love. Scott Yanow

The six-part suite spans from impressionistic motifs to twelve-tone technique. ACT
Tracklist :
1    Farewell, New York    16:46
Bob Brookmeyer
2    Ugly Music    10:33
Bob Brookmeyer
3    White Blues    11:41
Bob Brookmeyer
4    Say Ah    7:17
Bob Brookmeyer
5    No Song    13:13
Bob Brookmeyer
6    The Crystal Palace    10:19
Bob Brookmeyer
Credits :
Bass – Dieter Ilg
Drums – Danny Gottlieb
Guitar – John Abercrombie
Illustration [Original] – Michelangelo Buonarroti
Keyboards – Frank Chastenier, Rainer Brüninghaus
Orchestra – WDR Big Band Köln
Saxophone – Heiner Wiberny, Olivier Peters, Paul Peucker, Rolf Römer
Trombone – Bernt Laukamp, Dave Horler, Roy Deuvall
Trumpet – Andy Haderer, Klaus Osterloh, Rick Kiefer
Valve Trombone, Liner Notes, Mixed By [Remixed] – Bob Brookmeyer

EBERHARD WEBER - Yellow Fields (1975) ECM 1066 / Mp3

Tracklist
1 Touch 4:59
2 Sand-Glass 15:31
3 Yellow Fields 10:04
4 Left Lane 13:37
Credits
Bass, Composed By [All Compositions By] – Eberhard Weber
Design [Cover Design] – Maja Weber
Drums – Jon Christensen
 Keyboards – Rainer Brüninghaus
 Producer [Produced By] – Manfred Eicher
Soprano Saxophone, Shenai, Nadaswaram [Nagaswaram] – Charlie Mariano

EBERHARD WEBER - Yellow Fields 

[1975] ECM 1066 / CBR320 / scan

O Púbis da Rosa